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Fifty Ways To Tweak Your Lover.


Setting Your VTA -- A Non-technical Explanation
by Sedrick Harris sedrick@melos.com

  This is an article on how to properly set the Vertical Tracking Angle (VTA) of your cartridge by first looking and then listening. To adjust your VTA properly, you need to find the adjustment on the base (post where the arm is mounted to the turntable) of your pickup arm that allows you to raise or lower the back (the end opposite of where your cartridge is) of your tonearm. Look at your owners manual (if you still have it), go to the audio dealer from whom you purchased it or contact the manufacturer for help in finding out how to make this adjustment. CAUTION: On most tonearms, you will NOT be able to adjust the VTA while playing a record or with the stylus even resting on a record (without destroying the record and/or cartridge cantilever or stylus). YOU HAVE BEEN WARNED!

For initial setup of your VTA, place a medium thickness album (no 180 gram re-issues or flabby RCA Dyna-flex Red Seals) on the turntable and place the stylus on the record (do not have the turntable rotating for these adjustments). With the stylus resting on this medium thickness album, the bottom of the cartridge should be parallel to the album. By this, I mean the flat area near the front of the cartridge where the cantilever / stylus assembly protrudes from the bottom of the cartridge. CAUTION: Make all adjustments on the tonearm with it sitting on the tonearm rest. You now have a good starting point to find where the nominal VTA setting is located for your arm / cartridge combination. Select 3 records from your collection with which you are familiar. You will use them to find fine tune the nominal starting point for your VTA adjustment. One of them should be what I will call a normal thickness album (London CS 6xxx or STS 15xxx (orange - silver label), RCA Shaded Dog, non 180 gm. Chesky, etc.). The next should be a thick album (Decca or EMI reissue, Mobile Fidelity 2-xxx series, etc.). The third album should be a thin album like an RCA Dyna-flab.

After setting the starting point of your VTA session using your eyesight, listen to a section of all 3 albums. What you want to listen for is the senority of the strings, the "air" around the instruments and the width of the hall. If you set your VTA correctly for nominal thickness albums, you will hear the following:

1.The medium thickness album will have extended stage width, a hint of air or rich harmonics around the individual instruments and singing in the upper strings without any stridency.

2.The thin album will have good stage width but the strings will sound unnatural, edgy and irritating.

3.The thick album will sound slightly muffled, with a lack of high frequencies and air around the instruments.

If this is not what you hear in your comparison, your VTA is not set properly for medium thickness albums. If the thin album sounds correct, the back or base of your tonearm needs to be raised about 0.010" (0.4mm) (the thickness of a cover of Ultimate Audio) for medium thickness albums. If the thick album sounds correct, the base of your tonearm needs to be lowered about 0.010" (250 micrometers) for medium thickness albums. A few passes at this and you will learn what to listen for when you adjust your Vertical Tracking Angle.

To reiterate, once you have found the correct VTA setting for a medium thickness album, you can use this starting point when you want to adjust your VTA for best sonics. For very thin albums (flabby Red Seal), or Angel and late Columbia, you will have to lower the back of the tonearm by as much as 0.005". For very thick albums and many of the Decca, Classic or EMI reissues, you will have to raise the back of the tonearm by as much as 0.010" or 0.015". Also remember that during the course of the life of your cartridge, the nominal setting will change as the cantilever ages and flexes making it sound as if the back of the tonearm is too low. After a short period of time of focusing on the sound (and not the music), you will learn to identify when the VTA is adjusted properly. After this adjustment is correctly made, listen and enjoy the music.

Sedrik has written for a few 'high-end' magazines.


(Said like Tweety Bird)

Neeyap, i taught i saw a Putty Tat!

  Ok, so again the cheapskate in me looks though a catalog and see Blu-Tak selling for $10 plus shipping. TEN BUCKS FOR STICKY PLASTIC?!?!?! Man-O-MAN, there's gotta be something cheaper! So off to Home Depot hardware store for some research. Ya know, some great ideas come from traveling to really big hardware stores. New high quality power outlets at real-world prices, cable ideas... But let's get back to this tweak. So as i get to the paint section there's this stuff called Mounting Putty by Manco Inc. WOW, it's just like Blu-Tak and a two ounce package will set ya back only $1.47!!! Oh joy oh joy :-{)+ . Rapture! All ya gotta do is simply roll an appropriate sized ball of it between your fingers until warm and then stick it where it's needed. No muss, no fuss. It will kinda leave a small oily spot when you remove it from the bottom of your stuff, but they're usually made of wood or metal. Using some Old English polish (or light oil) easily removes all of it (and isn't it about time you carefully dust off the bottom of your equipment anyway). The cool thing here is using this stuff to attach tonecones to the equipment! Yep, just use a small ball of it to firmly attach those tonecones and your music reproduction system may sound even better! Used this trick for the tonecones under my turntable and she sings sweet songs better then ever. One package of this stuff should do your entire system too. So forget those high priced 'audiophile approved' products and save some of that extra cash for a new snowboard. Sufferin' sukatash, winters just around the corner!

Manco Inc.
32150 Just Imagine Dr.
Avon, OH 44011

voice 1-800-321-0253


Zap That Static Clean!

  Another month, another Audio Advisor catalog. Flippin' through it was this cool device for discharging static electricity. When i lived in hot 'n' humid Florida there was no reason to worry about that stuff. Unfortunately moving to New Hampshire has changed all that (and electrified my love life). The unit offered by Audio Advisor sells for $39.95 plus shipping. What if i told ya you can make your very own static ZAP thingy for only $5 maximum! Let's face it, static electricity can be annoying and possibly dangerous to our precious gear. Especially those of us with turntables. Last thing you want is one of those good static pops going through your music reproduction system which in turn makes a loud pop sound through your speakers. YIKES!!! . Those of you who have installed computer chips will realize that one good static pop can bring that expensive 200mHz MMX microprocessor from being the finest steak in the state to the worst meatloaf you ever ate.

Making this is so simple that it should take you only ten minutes! First you need a good sized piece of metal that conducts electricity. Something, say, one inch square. If you have some old lead fishing weights laying around like i do, that'll be great! Now all you need to do is use some of that crummy ol' 18 gauge copper wire that comes with most el cheapo home or car stereo speakers. Radio Shack (Tandy) also probably has some scrap 18 gauge wire that they'll give ya for free. We only need about six feet of that stuff and if you're like most of my friends you probably have much more of that stuff in a drawer or box somewhere (check the cloths closet). Strip off about one inch from one side of the wire, and half an inch from the other side. Now all you haveta do is tie the one inch stripped wire to the loop on the fishing weight. Basically what cha want is a good electrical connection from whatever you use to the wire. Now it's time to ground this puppy. Unscrew the center bolt from your walls electrical outlet plate. Connect the side of the wire with the half inch stripped away to the center screw located on the electrical outlet on the wall. Then simply attach the plate and screw back into the outlet. Ya see, that center screw on the outlet is connected to the home's ground system.

Simply place the fishing weight with the wire connected to it somewhere that's:

a) not touching your components (especially metal casings)

b) that's easy to reach before you touch any of your components

VAH-WALLA!!! You're, like, there dude. Now all you haveta do is simply touch this just before you touch any of your components. That static charge will be attracted to the unit and harmlessly be discharged to your homes grounding system. Lessee here, over forty dollars for the thing in the Audio Advisor catalog, less then five bucks for my ditty. i'll concede that the thing in the Audio Advisor looks prettier. But aren't we all cheapskates deep inside? Speaking of static electricity, the Audio Advisor now carries the Zerostat gun ($49.95 + shipping) for vinyl freaks like me. Now there's a good tool if you feel you must spend some money with the Audio Advisor. As always, if you have any questions, please feel free to lemme know before you do anything.

Addition by a very knowledgeable reader wrote:

From: Dilip <sathe_dilip@bah.com>

Subject: Zap That Static Clean!

I was visiting your web site and read the "Zap That Static Clean!" tweaking tip. The idea is good and your precautions about placement of the gadget should take care of most likely problems. However, I have worked in production environments and studied some of the commercial products offered for static protection. The standard practice is to connect the (antistatic mat/wrist band etc.) grounding wire/conductor to ground through a 1 Meg Ohm series resister. This ensures dissipation of any static charges but prevents one from getting a solid ground connection in case one happens to be touching a live surface at the same time - thus from getting a shock.


Vinyl Thoughts

  So you made the leap and bought your very first turntable, coolness! Now you read about VTA, tracking force, mats, stands... Setting up a CD player was so easy. Connect the transport the the DAC and off you went. No cleaning, no real setting it up. So how does one get the best outta their turntable? There are no hard 'n' fast rules here folks and this article will surely start various debates too. What works for my turntable may not work for yours. Hopefully this article will at least give ya some insight.

VTA mean Vertical Tracking Angle. On the cartridges i've used, changing the angle the tonearm is to the vinyl record mainly effects the timing and to some extent the amount of the bass. By moving the tonearm upward the bass gets faster. The lower frequencies seem to be reproduces more and more ahead of the higher frequencies the higher you adjust it.

The tracking force seems to change the harmonics, and more subtly the timing of the bass. Less force = less bass and more highs. More force = more bass and less highs. It's a finer adjustment to VTA. Always try to use the higher tracking force first, then adjust the VTA. If you too lightly track the vinyl your needle may skip and other things which may damage the vinyl may occur. Please use a heavier force.

Mats stink. Maybe it's my turntable, but the acrylic platter on my VOYD hates mats. Some mats also conduct static electricity which is not desired. When your needle 'releases' this static you'll hear a loud pop through your system. Not a good thing my friends. Using a humidifier in low humidity conditions may help ya out here. Humidifiers were found all over at the WCES. Las Vegas, the site of the WCES, is notorious for very low humidity and therefore many turntable manufactures use humidifiers to help reduce or eliminate the possibility of static electricity.

My turntable loves it when i use tone cones underneath it. By attaching these cones to the underneath of the turntable with Blu-Tac the quiets got quieter and the tables ability to not react to outside vibrations is enhanced.

As for stands, some say that the stand you use will directly dictate the way your turntable reproduces music. A heavy stand makes the music sound heavy. A light table may make the music sound light. My favorite turntable stand is the IKEA LACK stand. It's lightweight yet rigid. The stand for the Goldmund Reference turntable is also of this variety (light yet rigid). Air bladders may work better for your turntable (and mats too). There are definitely no hard 'n' fast rules here my friends.

Hopefully these few humble suggestions and information will assist you in setting up your turntable. If you have any questions on certain turntable types please feel free to e-mail your questions to me. If i'm not sure i'll make sure to direct your question to someone who hopefully will know the answer. Always glad to be of service. Just as there are many different types of turntable designs, there are many different different answers depending on the exact turntable/arm/cartridge combination used. Above all else please remember that building a turntable one should use a system approach. A great cartridge with the wrong arm is not a trip to happyville. A great turntable with the wrong tonearm is also not good in my humble opinion. When buying a turntable please adhere to the system approach. So how does one know when their turntable is setup properly? Easy! When you start buying more and more of the music you enjoy on vinyl. Kick back, grab your favorite beverage and...

Enjoy the music!


Setting Up Loudspeakers In A Rectangular Room
by George Cardas

  Very precise speaker placement can open up a whole new dimension in listening, so I will outline the system that is becoming the standard of the industry. The Audio Engineering Society's (AES) standard listening room is a model of the math used in this system and is the room used for illustration. This method will work with any panel or box speaker, in any reasonable sized rectangular room. You may find that you have already positioned your speakers this way by ear.

The AES standard listening room is a Golden Cuboid 10' x 16' x 26'. It's dimensions progress in the golden ration or Flbonacci sequence ( 5-8-13-21-34...). Three major nodes created within the listening space are indivisible, and therefor will null rather than beat. The math used to create this perfect listening space can also be applied to speaker placement within any listening space.

The key to this formula is the ratio Phi (.6180339887... to 1 or 1 to 1.6180339887... ). The three major room nodes are created by the distances:

Ceiling to floor
Side wall to side wall
Front wall to back wall

To determine the initial placement, multiply ceiling height by .618 (10' x .618 = 6.18' ) to determine the distance from the rear wall to the center of the woofer (or the acoustic center of the panel).

Then multiply the room width by .276 (width divided by 18 x 5 ) to determine the distance from the side wall to the center of the speaker. ( 16' divided by 18 x 5 = 4.4' ). At this point place the speakers on tiptoes, one in front, two in the back. If the speakers are not very heavy, i suggest throwing a bag of lead shot on top of them. Play the system for a few hours and then fine tune their position. Usually speakers will not have to be moved more than one inch. Don't forget to damp the first reflection points.

A humble thanks go out to Mr. George Cardas who allowed us all to share in this article he wrote.

Click here to view room setup diagram.

Click here to go to Cardas' homepage.


What Can You Get For Free?

  Ha! That's too easy. Some of you may say nothing's free. And usually you'd be 100% right. But after some soul searching and hearing how your web browser won't download the FREE 2 point protractor i've offered on my "Free Stuff" page a decision had to be made. Called a few magazine dudes to see if, FOR FREE, they wanted to include the 2 point protractor for their loyal readers. Can ya believe a popular vinyl/music based magazine declined after repeated e-mails back and forth and even a phone call!!! My feelings were that if any magazine's readers needed a cartridge alignment tool it would be this one. Well, i was kinda discouraged, but then the word got out... Primyl Vinyl wanted them, so did Sound Practices, so did... So quickly forgetting that other rag (let their readers pay upwards of $25+ for it from one of their advertisers) while other magazine readers get it for free. Acoustic Sounds jumped at the chance too. They've got hundreds of 'em! The Audio Adventure, can ya believe it, gave them away at the WCES as did Acoustic Sounds. At the WCES folks accosted me and said, "YO STEVE, gimme one of them famous 2 point protractors!"

So here's the deal, just see my "Free Stuff" page to find out how you can get your very own FREE 2 point alignment protractor for your turntable. They say the best things in life are free :-{)+ . And as for that one and only music/vinyl based 'zine that didn't want it, THANKS! i've been swamped with requests for it by many other 'zines and have virtually run out of the first batch. In other words, you've save me money (though not your readers :-{(+ ). Take care cool dudettes/dudes and until next week...

Enjoy the Music!

Click here to go to my "Free Stuff" page to claim
your very own 2 point protractor available worldwide!

Cheap Tweaks That Sound Like

  The below article was reprinted, with permission, from a really cool vinyl/tweak 'zine called Primyl Vinyl. i just got "turned on" to it and MAN-O-MAN may i humbly suggest ya get a subscription and the back issues too. He's the ONLY source i know of a virtually COMPLETE Harry Pearson recommended recordings list (October 1996 issue) and well as many other good articles. Look, i AINT commercial, if his magazine sucked i'd cancel it like i have quite a few others recently. Anyway, here's just a SMALL sampling for ya. With my most humble gratitude goes out to Bruce for allowing it to be reprinted and seen here on the internet for the very first time. Go on with your bad self brother Bruce!



   Welcome to Cheap Tweaks, wherein we explore 
 that curious urge, seemingly pervasive within the 
 audiophile community, which drives otherwise normal 
 individuals to seek ultimate audio nirvana via the 
 topical application of various gizmos to high 
 performance (and high priced) componentry. To read 
 to the audiophile press, buying a $3000 amplifier simply 
 leads one inexorably towards $500 isolation feet, 
 a $300 dedicated stand, a $200 power cord with a 
 hospital grade plug (no wise remarks here), $225 
 "electronic stabilizer", $700 power line filter, 
 various $100+ tuning dots-and-discs, etc. -each 
 of which "opens up the sound stage, increases 
 dynamic contrasts and delineates inner voices 
 (or here either), and Lifts a Veil Enabling Previously 
 Unnoticed Detail to Emerge". And yes, by most reports, 
 many of these things actually do work as advertised, 
 and can make the $3000 amp seem sonically 
 competitive with...a $5000 amp?
      OK, so this is the kind of thing, even more than 
 painting the edges of CDs green*, that gives audiophilia 
 expensiva  a bad name, especially amongst the many 
 collectors who prefer to put their money where the 
 music is (i.e. more records, tapes, and CDs) and who 
 buy their Consumers Reports-approved electronics at 
 Circuit City-on sale. The very idea of a $3000 amplifier 
 is mind-boggling to many; why buy even a $300 amplifier 
 when you can get a top-rated A-V Receiver with all 
 the bells and whistles for $279... Well, because the 
 odds are the $300 amp sounds better, maybe more 
 like the $3000 amp than like the receiver. Once one 
 gets to the point of thinking amplifiers can and do 
 sound different (and you can still get plenty of argument 
 on that alone), then one can begin to wonder if 
 some appropriate tweaking might make even the 
 inexpensive amp sound better. But will a $300 amp 
 with $2000 worth of audiophile tweaks be "sonically 
 competitive" with a $2300 amp? Interesting question. 
 There are quite a few audiophiles out there with 
 1950's vintage Dynaco, Citation, and similar tube 
 amps with several hundred $$ invested in upgraded 
 tubes, capacitors, resistors, and wire. But, basically, 
 there's not much sense in pricey tweaks for less 
 than kilobuck components. What the real world 
 needs is Cheap Tweaks.
      We got 'em. Or more correctly, we found 'em. In 
 this issue of PVX we discuss several products which 
 are more or less the functional equivalents of Genuine 
 Audiophile Accessories costing ten or twenty times as 
 much. At $2-5 each, these are the sorts of things one 
 might invest in and still retain a certain fiscal liquidity 
 sufficient to encourage subscribing to a journal like 
 PVX, for instance. However, they are not advertised 
 in Stereophile, and you can't buy them at your local 
 Stereo Shoppe, let alone Circuit City. You can't even 
 buy them from PVX, but we will tell you where you can.
      (Drumroll). Our secret source (even they don't know 
 this) for the ultra cheap in audio chic is a mail-order outfit 
 out of Skokie, IL called American Science & Surplus 
 (847 982-0870, http://www.sciplus.com).  Established 
 about 1937, and previously known as JerryCo, they 
 specialize in industrial and military surplus, scientific 
 and lab apparatus, and, uh, well, you know, like, 
 uh, toys? That's right, some of the most cost-effective 
 audio tweaks around started out as stocking stuffers. 
 If you have a problem with that, don't just stop reading. 
 Seek out a neutral observer, perhaps your spouse or 
 significant other, and together engage in a meaningful 
 dialogue which explores the complex psychological
 reverberations arising from the interaction of the phrase 
 "stereo system" and the concept "toys". Feel better now? 
 In fact, the kinds of "toys" that ASS (one cute 
 corporate acronym, eh?) proffers are "science toys", 
 often made of unusual materials and designed to 
 demonstrate scientific phenomena. Mass production, 
 cheap packaging, and not having to advertise in 
 Stereophile means the above-average third-grader 
 can afford them. They also tend to have funny  names.
      Consider ASS item 39129 "Happy and Unhappy Balls", 
 $3.95. The Happy Ball is standard, high bouncing 
 neoprene. Give it to the cat. The Unhappy Ball is 
 made from "a proprietary compound" (Norsorex) which 
 exhibits very high hysteresis (and a low coefficient of 
 restitution), i.e. the molecular structure results in internal 
 friction which retards the natural tendency of rubber to 
 return to its original shape after deformation from shock 
 or vibration. The instructions indicate the Balls actually 
 come from Edmund Scientific (P6-1000), detail the 
 chemical formulation, and suggests you "ask your 
students to think of practical uses...they might surprise 
 you with their creative answers". Like putting them in 
1" plastic table leg tips and placing them under stereo 
 components? How do they compare with the 3 for 
 $55 Audioprism Isobearings, balls of the same size, 
 also made of "a proprietary compound", and equally 
 unhappy to bounce? Decide for yourself.
      Next is ASS item 89436 "Sticky Balls" (Who thinks 
 these names up?), 4 for $2.50. 1.75" hemispheres 
 of "Memory Gel", a tacky polymer substance both 
 icky and effective at damping vibration. Excellent 
 under turntables subject to acoustic feedback (use 
 as many as necessary). For greater load bearing, stick 
 two together in a 1/2" section of 1.5" I.D. tubing, 
 which results in something comparable to the Deflex 
 Foculpod tacky polymer damping foot (3 for $35).
      For vibration-draining "cones" order ASS 23133 
 "Rascal Top", 3 for $2.25.  Hollow steel, 1.25"dia x 2", 
 elegantly turned out, paint' em or they'll rust. Fill with 
 Mortite, or if your speakers are threaded for spikes, 
 embed bolt in Bondo. (We used nylon bolts and put 
 the cones in 35mm film cans for filling). Much higher 
 WAF than spikes, much cheaper than commercial  
 "toes and feet" ($10-50 apiece).
      But enough toys. ASS 20465 "Ribbon Cable Shielding" 
 is just that: a vinyl/copper cable wrap, 4-3/4" x 8 ft,  
 designed to shield cable from EMI/RF, complete with 
 double-stick tape and embedded copper grounding 
 wires. Slit in half for audio cables, or overlap short lengths 
 to reduce inter-component interference. At $2.50, a 
 fraction of the cost of Audiophile "Cable Jackets" ($50-150).
      Ever curious about those $1000  audiophile "passive
  pre-amps"-basically a stepped attenuator in a box? 
 ASS 24524 Decade Resistor Kit provides the rotary 
 switches, metal film precision axial lead resistors, and 
 a schematic, for $6.50. Of course you need two for 
 stereo, jacks and a box.  Nothing Vishay about this bargain.
      The back side of your components a rat's nest of 
 jumbled wires? ASS 4138 has 25 Voltrex D-clips for $2.50, 
 your basic little adhesive backed cable clamps. They also 
 have a variety of sizes and flavors of plastic mesh tubing 
 used to sleeve interconnects and speaker cables-page 
 12 of catalog #92-@.10-.25/ft. Worried that the MDF 
 shelf under your turntable is too resonant? ASS 23932 
 is a 19"x 22"x 1/4" adhesive foam rubber pad, $3. 
 Stick it to the bottom of the shelf, or for that matter, to 
 any metal or plastic component enclosure that clangs 
 when you tap it. ASS 23935 is a thinner, more flexible 
 foam, 10"x 10 feet, a true bargain at a mere $2.
      Wish you had a VPI, Nitty-Gritty, or Keith Monks 
 vacuum record cleaner instead of that cheesy little 
 Discwasher thing? ASS 25959 is a 8 Amp fan cooled 
 vacuum motor, $12.50. We hope to have a DIY plan for 
 this sucker ready for an upcoming PVX article, but why 
 wait? Design your own and send in a description. A free 
 subscription for the best design under $50.
      The latest in high-end audio isolation systems are 
 supported by air and/or silicone filled "bladders", in the 
 $100 to $1700 range. (We'd also love to give a free 
 subscription to PVX to the lady who wrote Stereophile 
 suggesting the inflatable ring designed for hemorrhoid 
 sufferers did wonders under her CD player. Please write!). 
 ASS 23704 is an 11x14 inflatable pillow, actually 2 for 
 $2.00. Similar, double walled bladders are ASS 22868 
 (13x15, 4 for $1) and 22871 (16x18, 3 for $1). I do 
 know the Well-Tempered/Transparent Audio folks will 
 sell their silicone damping fluid direct, or you might check 
 with your local plastic surgeon. Put them under a piece 
 of MDF, or marble, or acrylic, or...?
      American Science & Surplus sends out a new catalog 
 each month, and most of the items rotate and re-appear. 
 Many of the above were in #92, but #93 had mostly 
 rubber animals, tools, and lab stuff. You never know 
 what will show up. The point of this whole exercise, 
 we feel, is that tweaking doesn't have to be either 
 esoteric or expensive to be effective. Are these low rent 
 replicas as good as the high ticket items they resemble? 
 If not, are they half as good for one tenth the price? 
 Will they do until you can afford the real thing? If a 
 $2 tweak improves the sound, can you stand not 
 knowing what something actually designed for the 
 purpose can do for $20, or $200, or even $2000? There 
 are many other sources of useful tweaks out there, 
 cheap and not so. The Tweakers Roundtable exists 
 to seek them out and let you know what's what. Your job 
 is to let us know about the tweaks you've found work...
 or don't!
  * Presumably, painting the inner and outer edges of a 
 CD  reduces the scattering of the laser beam (by absorbing 
 the particular laser wavelength) which reads the pits on 
 the disc, thus improving the datastream accuracy, 
 reducing error correction, etc. It works well enough that 
 some audiophiles paint the entire topside of the disc 
 green-a few go so far as to paint the entire inside 
 of the transport  mech-anism. The Official Audiophile
 Versions are paint pens  which go in the $15-20 range. 
 We've found that the UNIPOSCA #PC-5M  pen is 
 "remarkably similar", and is usually  available through 
 art supply stores for $2. We get ours at Charrettes in 
 Cambridge.  They do work, but no, they don't make 
 CD's sound as good as vinyl...
 Bruce Kinch
 Editor, Primyl Vinyl Exchange
 "Old records never die...they seek their vinyl resting place"

 PO Box 67109
 Chestnut Hill, MA 02167

Click here to go to American Science Surplus' www site.


Other places you may wanna try (thanks Todd for the info!):

Fair Radio Sales Co.
1016 E. Eureka St.
Lima, Ohio 45802

24hr fax 419.227.1313


C and H
2176 E. Colorado Blvd.
Pasadena, CA 91107

Voice: (213) 681.4925
          (818) 796.2628
Fax (818) 796.4875
Toll Free USA: (800) 325.9465


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